Around the World in 40 Films: Japan

For a country that has such an epic range in regards to the film industry the typical thought regarding Japanese Cinema is either anime or complete derision. This week we have refused to adhere to this stereotype and instead opt for a classic from Japan’s greatest director Akira Kurosawa (Ran) and a modern day classic by Takeshi Kitano that won the Golden Lion at Venice back in 1997 (Hana-Bi).

• Ran (1985)
  

Director: Akira Kurosawa

Akira Kurosawa was arguably the greatest of all Japanese directors and watching Ran his final masterpiece you inevitably wonder whether he is the greatest director from any nation. It retells the legend of King Lear in feudal Japan, but thanks to Kurosawa’s sublime direction and the film’s vast scope this is much more than simply Shakespeare with Samurai.

Ran differs greatly from the Shakespearian version of Lear but far from a criticism it simply creates a unique version of the tale. Here Lear is Hidetora (Tatsuya Nakadai) a cruel warlord and far from the victim of undeserved suffering, but as the horror of the story is unleashed this soon only adds to the nightmare as he is forced to confront the torments he inflicted. His eldest son’s wife Lady Kaede (Mieko Harada) is utterly brilliant as she takes a role similar to that of Lady Macbeth mercilessly plotting her way to power. As the dynasty inevitably collapses, brutal war sweeps the land depicted on a vast scale in some of the most astonishing and powerful battle scenes ever filmed. The viewer is in total awe as the brutal human drama continues to unfold, creating an immensely powerful depiction of the nature of cruelty and suffering in the world.

With its astonishing performances, vast scale and stunning visuals Ran is a film of incredible power, an undisputed masterpiece, and arguably Kurosawa’s greatest work. Indeed, Ran is perhaps as close to perfection as it is possible for a film to be.

• Hana-Bi (1997)
  

Director: Takeshi Kitano

Some movies act as a flashpoint in a director’s career where they finally become accepted by both critics and cinema-goers in their native land as to warrant international prestige. For writer, actor and director Takeshi Kitano (still primarily known as the count in '80s Japanese game-show Takeshi’s Castle) Hana-Bi marked his ascent to such a level that caused him to be acclaimed as the natural successor to Akira Kurosawa.

In this film Kitano (under the name Beat Takeshi) portrays a cop by the name of Nishi whose life has taken a tragic turn. His old partner on the force has become suicidal since becoming wheelchair-bound after being shot on the job and Nishi’s wife is dying of leukaemia in front of his eyes. Hana-Bi juxtaposes the stories of Nishi’s partner Horibe finding his calling as a painter specialising in abstract canvases of people with flowers for heads, with the story of Nishi who decides to quit his job in order to spend time with his wife during their final days (having become submersed in the Yakuza to provide for his wife’s hospital bills).

As with his previous films Kitano’s greatest strength is the rather staid fashion he approaches emotion where not a flicker of an eyebrow is without a purpose. By doing this he is able to swiftly move between shocking and sudden violence and moments of extreme tenderness. Even the title hints to such a dichotomy with Hana-Bi (literally meaning fireworks) actually composed of the characters for fire and flower, much like how in this film one thread leads to a rebirth and the other to a devastating conclusion.

Add Comment

You must log in to submit a comment.